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By Natasha Synessios

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A. Tarkovskii, ‘Belyi den’’, Iskusstvo kino, 6, 1970, pp. 110–11. 7. See A. Tarkovsky, Collected Screenplays (London, 1999), pp. 257–61. 8. A literary script reads like a story, as opposed to the shooting script, 40 Mirror 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. which usually indicates metres of film, type of shot and lens, a soundtrack and drawings. Misharin, ‘Na krovi, kul’ture i istorii …’, pp. 55–66. A hybrid script was published in Russian and translated into English, included in Collected Screenplays, pp.

This scene echoes one in Nostalgia where Gorchakov looks into a mirrored wardrobe to find Domenico staring back at him. It also resembles a scene from Tarkovsky’s unfilmed script on the life of E. T. A. Hoffmann, Hoffmanniana, where Hoffmann, in his delirium, sees his double, Cavalier Gluck. See Tarkovsky, Collected Screenplays, pp. 329–69. Mosfilm, 2264. Tarkovsky, Time within Time, p. 13. See Collected Screenplays, pp. 187–247. The battle of Kulikovo took place in 1380 between Prince Dmitri Donskoi and the Mongols, and dealt a decisive blow to their long rule over Russia.

Kogda fil’m okonchen. Govoriat rezhissery ‘Mosfil’ma (Moscow, 1964), pp. 136–71. A revised version was included as the chapter ‘The Beginning’, in A. Tarkovsky, Sculpting in Time. Reflections on the Cinema (London, 1986), pp. 15–35. 3. A. Konchalovskii, Nizkie istiny (Moscow, 1998), pp. 126–7. 4. Tarkovsky, Sculpting in Time. ␣ 128. 5. A. Tarkovskii, Uroki rezhissury (Moscow, 1993), p. 28. 6. A. Tarkovskii, ‘Belyi den’’, Iskusstvo kino, 6, 1970, pp. 110–11. 7. See A. Tarkovsky, Collected Screenplays (London, 1999), pp.

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